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"disqusTitle": "S.F. Tape Music Festival Showcases the Art of Captured Sound",
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"content": "\u003cp>The Victoria Theatre is packed. It is completely dark except for the glow of emergency exit signs. Vaudeville performers used to fill the stage down in front, but now nothing is there but an array of speakers. Everyone in the audience is facing them, waiting for the sound that will soon erupt into the room.\u003c/p>\n\u003cp>This is the scene in San Francisco at the country's largest, and probably only, tape music festival. The first composition to come out of the speakers: \"La Voz del Fuelle\" by Diana Salazar.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/22319714\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>“Tape music” is a term for experimental audio art. Composers record and manipulate sounds with computers and mixers. Then the compositions get projected onto speakers that surround the listeners.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/146590273\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>This piece is \"giraSol~giraNada\" by David Arango Valencia, but listening to it on headphones does not do it justice. When it's performed there are no visual distractions. The audio swirls around you, gliding from speaker to speaker, creating its own dimensions inside the darkened room.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After the first set, people sitting near me describe the sensation of listening. The woman to my right says she has been listening to this kind of experimental music for 30 years. She likes it because “you don't know where it is going to go.” The man on my left says it makes you “drift in and out of visual memories.” “You feel like you are being pulled into or away from different things,” the woman next to him says. “There were some volcanoes and things happening for sure. I felt like I was in a river.” The guy adds that “it's cool all these people came out to sit in the dark and trip out on all these sounds.”\u003c/p>\n\u003cp>For the festival organizers, it's cool the music draws such a big crowd -- and it's also kind of a shock.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/186436279\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>“I had no thought that so many people would be into this kind of music,\" says festival coordinator Matt Ingalls. He started this show with some friends 15 years ago essentially for their own enjoyment. The core Tape Music group is Ingalls, Thom Blum, Kent Jolly, Cliff Caruthers and Joseph Anderson.\u003c/p>\n\u003cp>\"[For the first year], we just got all our home studio equipment together and did a performance,\" Ingalls explains, “and it sounded really cool and we were like, 'Hey, why don't we turn this into a festival?'”\u003c/p>\n\u003cp>The show has grown ever since, as has interest in the genre. Now places like the \u003ca href=\"http://www.sfsymphony.org/About-Us/Press-Room/Press-Releases/SoundBox-Fact-Sheet-14-15.aspx\">San Francisco Symphony\u003c/a> and the city’s \u003ca href=\"http://www.exploratorium.edu/press-office/press-releases/exploratoriums-experimental-music-series-plays-december\">Exploratorium \u003c/a>have experimental music nights. At the yearly Tape Music Festival you can hear new compositions alongside classics, such as the 1930 recording made by German filmmaker \u003ca href=\"https://www.youtube.com/watch?v=KVZVpAVfZ6M\">Walter Ruttman\u003c/a>.\u003c/p>\n\u003cp>Ingalls considers this the first piece of tape music. It's an audio collage of urban sounds titled \"Weekend.\"\u003c/p>\n\u003cp>The name “tape music” comes from the act of recording sounds onto tape. The genre is also called “acousmatic sound” or “Musique Concrète” in France -- there it gained popularity in the '40s and '50s. By the 1960s, tape music had started to influence American rock-and-roll musicians like Frank Zappa.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yDNXsNkX-0c\u003c/p>\n\u003cp>In classic Zappa weirdness, this piece from 1968 is titled \"Nasal Retentive Calliope Music.\"\u003c/p>\n\u003cp>Ingalls says in the '60s it seemed like tape music might become more mainstream. “Everyone felt it was moving that way,” he says. “It was a very experimental time for music, but somehow, somehow music lost its way and moved back to more mundane pop.”\u003c/p>\n\u003cp>Instead of becoming popular, experimental music moved into academia and became computerized. Former UC Berkeley Professor David Wessel wrote this piece, \"Antony,\" in 1977. He created the music by using a mainframe computer to layer numerous sine waves of sound on top of each other.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9GCZ53HRdH0\u003c/p>\n\u003cp>Modern composers like \u003ca href=\"https://soundcloud.com/thom-blum\">Thom Blum\u003c/a> and Cliff Caruthers now depend on computers, but the heart of tape music still lies in the sounds they record. “I've always been interested in sound,” Caruthers says. “Even as a little kid, those things always fascinated me.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/97507481\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>His piece, \"Natoma\" features recordings of water, Caruthers' dad reading a children's book, an instrument his friend made, and the New York subway. “For a long time whenever I would take a trip, that recorder was on my hip and always just collecting sounds,\" he says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Caruthers calls his compositions audio sculptures, built out of those little bits of sound he gathers from all around him.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Victoria Theatre is packed. It is completely dark except for the glow of emergency exit signs. Vaudeville performers used to fill the stage down in front, but now nothing is there but an array of speakers. Everyone in the audience is facing them, waiting for the sound that will soon erupt into the room.\u003c/p>\n\u003cp>This is the scene in San Francisco at the country's largest, and probably only, tape music festival. The first composition to come out of the speakers: \"La Voz del Fuelle\" by Diana Salazar.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/22319714&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/22319714'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Tape music” is a term for experimental audio art. Composers record and manipulate sounds with computers and mixers. Then the compositions get projected onto speakers that surround the listeners.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/146590273&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/146590273'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This piece is \"giraSol~giraNada\" by David Arango Valencia, but listening to it on headphones does not do it justice. When it's performed there are no visual distractions. The audio swirls around you, gliding from speaker to speaker, creating its own dimensions inside the darkened room.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After the first set, people sitting near me describe the sensation of listening. The woman to my right says she has been listening to this kind of experimental music for 30 years. She likes it because “you don't know where it is going to go.” The man on my left says it makes you “drift in and out of visual memories.” “You feel like you are being pulled into or away from different things,” the woman next to him says. “There were some volcanoes and things happening for sure. I felt like I was in a river.” The guy adds that “it's cool all these people came out to sit in the dark and trip out on all these sounds.”\u003c/p>\n\u003cp>For the festival organizers, it's cool the music draws such a big crowd -- and it's also kind of a shock.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/186436279&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/186436279'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I had no thought that so many people would be into this kind of music,\" says festival coordinator Matt Ingalls. He started this show with some friends 15 years ago essentially for their own enjoyment. The core Tape Music group is Ingalls, Thom Blum, Kent Jolly, Cliff Caruthers and Joseph Anderson.\u003c/p>\n\u003cp>\"[For the first year], we just got all our home studio equipment together and did a performance,\" Ingalls explains, “and it sounded really cool and we were like, 'Hey, why don't we turn this into a festival?'”\u003c/p>\n\u003cp>The show has grown ever since, as has interest in the genre. Now places like the \u003ca href=\"http://www.sfsymphony.org/About-Us/Press-Room/Press-Releases/SoundBox-Fact-Sheet-14-15.aspx\">San Francisco Symphony\u003c/a> and the city’s \u003ca href=\"http://www.exploratorium.edu/press-office/press-releases/exploratoriums-experimental-music-series-plays-december\">Exploratorium \u003c/a>have experimental music nights. At the yearly Tape Music Festival you can hear new compositions alongside classics, such as the 1930 recording made by German filmmaker \u003ca href=\"https://www.youtube.com/watch?v=KVZVpAVfZ6M\">Walter Ruttman\u003c/a>.\u003c/p>\n\u003cp>Ingalls considers this the first piece of tape music. It's an audio collage of urban sounds titled \"Weekend.\"\u003c/p>\n\u003cp>The name “tape music” comes from the act of recording sounds onto tape. The genre is also called “acousmatic sound” or “Musique Concrète” in France -- there it gained popularity in the '40s and '50s. By the 1960s, tape music had started to influence American rock-and-roll musicians like Frank Zappa.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/yDNXsNkX-0c'\n title='//www.youtube.com/embed/yDNXsNkX-0c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In classic Zappa weirdness, this piece from 1968 is titled \"Nasal Retentive Calliope Music.\"\u003c/p>\n\u003cp>Ingalls says in the '60s it seemed like tape music might become more mainstream. “Everyone felt it was moving that way,” he says. “It was a very experimental time for music, but somehow, somehow music lost its way and moved back to more mundane pop.”\u003c/p>\n\u003cp>Instead of becoming popular, experimental music moved into academia and became computerized. Former UC Berkeley Professor David Wessel wrote this piece, \"Antony,\" in 1977. He created the music by using a mainframe computer to layer numerous sine waves of sound on top of each other.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9GCZ53HRdH0'\n title='//www.youtube.com/embed/9GCZ53HRdH0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Modern composers like \u003ca href=\"https://soundcloud.com/thom-blum\">Thom Blum\u003c/a> and Cliff Caruthers now depend on computers, but the heart of tape music still lies in the sounds they record. “I've always been interested in sound,” Caruthers says. “Even as a little kid, those things always fascinated me.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/97507481&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/97507481'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>His piece, \"Natoma\" features recordings of water, Caruthers' dad reading a children's book, an instrument his friend made, and the New York subway. “For a long time whenever I would take a trip, that recorder was on my hip and always just collecting sounds,\" he says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Caruthers calls his compositions audio sculptures, built out of those little bits of sound he gathers from all around him.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Pop Music Review: Silk Rhodes' Quirky Debut Album ",
"title": "Pop Music Review: Silk Rhodes' Quirky Debut Album ",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>The group's name is a giveaway. Silk, as in smooth, and Rhodes, as in \u003ca title=\"Fender Rhodes Electric Piano- Smithsonian\" href=\"http://americanhistory.si.edu/collections/search/object/nmah_606755\">Fender Rhodes\u003c/a>, the electric piano that gave a signature sound to a lot of ‘70s funk and soul. By and large, that’s the spiritual model for what we have here on \u003ca title=\"Stones Throw Records-Silk Rhodes\" href=\"http://www.stonesthrow.com/silkrhodes\">Silk Rhodes\u003c/a>’ self-titled debut album.\u003c/p>\n\u003cp>It’s there from the first notes of the first track, simply titled “Intro” — smooth funk going back a few decades, but stripped down to the bone by a couple of mad sonic scientists.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/180182206\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>And the album cover, too. It’s a photo of a miniature Silk Rhodes logo on a young woman’s tongue, like a pill. Well, the album is made up of pieces that are basically miniatures -- concise, minimalist sketches. “Pains,” for example, is like a distant dream of a soul song, alluringly so.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art.jpg\">\u003cimg class=\"alignleft wp-image-10367635\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-400x400.jpg\" alt=\"Silk Rhodes\" width=\"362\" height=\"362\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art.jpg 1500w\" sizes=\"(max-width: 362px) 100vw, 362px\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So who are the guys behind this? Producer Michael Collins and singer Sasha Desree came to California from Baltimore and New York, respectively, via rather circuitous routes, becoming friends and collaborators along the way.\u003c/p>\n\u003cp>The story goes, and we may as well believe it, that the two turned their 1997 Honda CR-V into a mobile recording studio, incorporating its vintage sound system, so they could record whatever crazy ideas might strike them in the moment, often with whoever was around at the moment. Sometimes they’d even give the music test runs for random folks on the street.\u003c/p>\n\u003cp>Much of this is pretty weird -- oddball experiments and goofs. One interlude, “Laurie’s Machine,” is apparently just that, messages left on someone’s answering machine.\u003c/p>\n\u003cp>So who do we hear in this? Maybe the Spinners or Delfonics? \u003ca title=\"Gamble-Huff Music\" href=\"http://www.gamble-huffmusic.com/home2/\">Gamble and Huff\u003c/a>’s classic Sound of Philadelphia productions for sure. Maybe some of the era’s jazz-soul crossovers, the Crusaders and George Benson?\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/SoxbvE1Doog?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp style=\"text-align: justify\">More than any of those, this brings to mind the little experiments that knitted together Prince’s brilliant, still hard-to-get-a-handle-on “\u003ca title=\"Rolling Stone's 500 Greatest Albums of All Time; #93\" href=\"http://www.rollingstone.com/music/lists/500-greatest-albums-of-all-time-20120531/prince-sign-o-the-times-20120524\">Sign 'o' the Times\u003c/a>.” There’s even a track on this called “Group 1987,\" the year when the Prince album was released. Coincidence? Maybe, but.…\u003c/p>\n\u003cp>But then it also fits nicely in the current run of California oddballs making distinctively weird, and weirdly engaging, music — \u003ca title=\"Tumblr- Flying Lotus\" href=\"http://officialflylo.tumblr.com/\">Flying Lotus\u003c/a> and \u003ca title=\"4AD Records-Ariel Pink\" href=\"http://www.4ad.com/artists/arielpink\">Ariel Pink\u003c/a> among them. As with them, Silk Rhodes’ weirdness can coalesce into some wondrous, coherently creative music.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s exactly where it all leads when we get to the album’s closer, “The System.” It’s a real song. It still evokes some of the vintage acts, but has its own shape, its own character. It even has something to say, and points to promising directions for the future. Sounds like after poking around the past, Collins and Desree are ready to explore some new roads.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The group's name is a giveaway. Silk, as in smooth, and Rhodes, as in \u003ca title=\"Fender Rhodes Electric Piano- Smithsonian\" href=\"http://americanhistory.si.edu/collections/search/object/nmah_606755\">Fender Rhodes\u003c/a>, the electric piano that gave a signature sound to a lot of ‘70s funk and soul. By and large, that’s the spiritual model for what we have here on \u003ca title=\"Stones Throw Records-Silk Rhodes\" href=\"http://www.stonesthrow.com/silkrhodes\">Silk Rhodes\u003c/a>’ self-titled debut album.\u003c/p>\n\u003cp>It’s there from the first notes of the first track, simply titled “Intro” — smooth funk going back a few decades, but stripped down to the bone by a couple of mad sonic scientists.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/180182206&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/180182206'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And the album cover, too. It’s a photo of a miniature Silk Rhodes logo on a young woman’s tongue, like a pill. Well, the album is made up of pieces that are basically miniatures -- concise, minimalist sketches. “Pains,” for example, is like a distant dream of a soul song, alluringly so.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art.jpg\">\u003cimg class=\"alignleft wp-image-10367635\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-400x400.jpg\" alt=\"Silk Rhodes\" width=\"362\" height=\"362\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art.jpg 1500w\" sizes=\"(max-width: 362px) 100vw, 362px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So who are the guys behind this? Producer Michael Collins and singer Sasha Desree came to California from Baltimore and New York, respectively, via rather circuitous routes, becoming friends and collaborators along the way.\u003c/p>\n\u003cp>The story goes, and we may as well believe it, that the two turned their 1997 Honda CR-V into a mobile recording studio, incorporating its vintage sound system, so they could record whatever crazy ideas might strike them in the moment, often with whoever was around at the moment. Sometimes they’d even give the music test runs for random folks on the street.\u003c/p>\n\u003cp>Much of this is pretty weird -- oddball experiments and goofs. One interlude, “Laurie’s Machine,” is apparently just that, messages left on someone’s answering machine.\u003c/p>\n\u003cp>So who do we hear in this? Maybe the Spinners or Delfonics? \u003ca title=\"Gamble-Huff Music\" href=\"http://www.gamble-huffmusic.com/home2/\">Gamble and Huff\u003c/a>’s classic Sound of Philadelphia productions for sure. Maybe some of the era’s jazz-soul crossovers, the Crusaders and George Benson?\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/SoxbvE1Doog?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp style=\"text-align: justify\">More than any of those, this brings to mind the little experiments that knitted together Prince’s brilliant, still hard-to-get-a-handle-on “\u003ca title=\"Rolling Stone's 500 Greatest Albums of All Time; #93\" href=\"http://www.rollingstone.com/music/lists/500-greatest-albums-of-all-time-20120531/prince-sign-o-the-times-20120524\">Sign 'o' the Times\u003c/a>.” There’s even a track on this called “Group 1987,\" the year when the Prince album was released. Coincidence? Maybe, but.…\u003c/p>\n\u003cp>But then it also fits nicely in the current run of California oddballs making distinctively weird, and weirdly engaging, music — \u003ca title=\"Tumblr- Flying Lotus\" href=\"http://officialflylo.tumblr.com/\">Flying Lotus\u003c/a> and \u003ca title=\"4AD Records-Ariel Pink\" href=\"http://www.4ad.com/artists/arielpink\">Ariel Pink\u003c/a> among them. As with them, Silk Rhodes’ weirdness can coalesce into some wondrous, coherently creative music.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s exactly where it all leads when we get to the album’s closer, “The System.” It’s a real song. It still evokes some of the vintage acts, but has its own shape, its own character. It even has something to say, and points to promising directions for the future. Sounds like after poking around the past, Collins and Desree are ready to explore some new roads.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>To see Danny Amis waiting to cross the street, to see him in line at the market, to see him pumping gas or petting his small dog, Seymour, are not particularly memorable sights. He is a soft-spoken, middle-aged guy, a regular joe, a man who walks among his fellow Californians unnoticed.\u003c/p>\n\u003cp>But to see him wearing a Mexican wrestling mask and a tuxedo, slinging a sparkling \u003ca href=\"http://www.dipintoguitars.com/category.php?id=1\">DiPinto guitar\u003c/a> onstage south of the border in front of tens of raging thousands is to see a transformation not soon forgotten. For this is no longer Danny Amis, this is the legendary Daddy-O Grande of the instrumental band \u003ca href=\"http://www.yeproc.com/artists/los-straitjackets\">Los Straitjackets\u003c/a>, a longtime cult favorite in the states that’s inspired a massive music scene in Mexico, where this simple chap has become an icon.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/178827643\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>“Danny Amis is considered the godfather of the surf music sound here in Mexico,” says Gabriel Lopez, guitarist for Twin Tones, a wildly popular Mexican group that has collaborated with Amis on the aptly named new album \"Super Spy Western Tones.\" “He's very respected and his songs have been covered by an enormous number of bands here.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/superspysleeve350.jpg\">\u003cimg class=\"alignright size-full wp-image-10344301\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/superspysleeve350.jpg\" alt=\"LPJ1200S PSD\" width=\"350\" height=\"350\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350.jpg 350w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350-75x75.jpg 75w\" sizes=\"(max-width: 350px) 100vw, 350px\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The beautifully produced instrumental collection is a bold soundtrack of primal twang, moody reverb and the six-string sound of the spaghetti West, songs written mostly by Amis that are as evocative of time and place as they are catchy.\u003c/p>\n\u003cp>“For a whole generation, mine and the one after, the guitar-playing style of Danny Amis was a huge influence,” continues Lopez. “I think it's a sound that a lot of Mexican bands consciously and unconsciously adopted.”\u003c/p>\n\u003cp>Born in Memphis, Amis grew up in Minneapolis, where he got his first exposure to the music that would pattern his life. “When I was a little kid my older brother had all the Ventures records and Link Wray and Duane Eddy records,” he says. “I just grew up with that as my definition of what an electric guitar should sound like.”\u003c/p>\n\u003cp>By the late ‘70s, Amis was leading his first instrumental band, The Overtones, before heading to New York in 1980 to join the seminal surf combo \u003ca href=\"http://www.bar-none.com/bios/raybio.html\">The Raybeats\u003c/a>. His next move was to Nashville, where he worked for the Grand Ole Opry as an audio engineer and, briefly, for a late incarnation of “Hee Haw.”\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=5FjpHTiImBk&w=640&h=350]\u003c/p>\n\u003cp>“It was excruciating,” Amis recalls. “Fourteen takes of the same joke.”\u003c/p>\n\u003cp>In 1989 he took a fateful trip south of the border, one that would spark an ongoing passion for Mexico. “First time I went down I was just looking for some sort of an adventure,” Amis says. “I took a bus down to Chihuahua. I had heard some Mexican rock and roll stuff, and I wanted to look for some of that, so I went to a record store. I not only found that, but I found a lot of new bands from Mexico City that were just dynamite. I felt at home right away and I knew I wouldn’t be able to stay away, so I’ve been going back pretty regularly ever since.”\u003c/p>\n\u003cp>In 1994 Amis co-founded Los Straitjackets, and it wasn’t long before bootleg copies of the group’s music began filtering into Mexico. The ingredients were ripe for popularity. The band all wore Lucha Libre masks, the music was fun, festive and powerful, and translation was not an issue. There were no lyrics.\u003c/p>\n\u003cp>Initially, however, Amis admits concern that the masks might have been viewed as culturally insensitive. “We had that fear a little but it was the opposite,” he says. “They were flattered that an American band would find elements of their culture really cool and really hip, which we do, and they just didn’t expect that. It touched a nerve down there, and then a whole music scene.”\u003c/p>\n\u003cp>Amis befriended one of the first groups in that scene,\u003ca href=\"http://www.lostacapulco.com/\"> Lost Acapulco\u003c/a>, and produced its hit debut album in 1998.\u003c/p>\n\u003cp>“When you have a chemical music thing it’s very easy to play and to do music, and that’s what happened with Danny and Lost Acapulco,” says Caleb Franco, aka Senor Ramirez, the band’s bassist. “We are big fans of Los Straitjackets as well. There’s so much influence for us. Of course, they wear wrestling masks, which is really good for Mexicans, but I think the crowd in Mexico likes their music so much [because] it’s so clear, so clean and super fantastic.”\u003c/p>\n\u003cp>The popularity of the Lost Acapulco album paved the way for Los Straitjackets to cross the border. “Because it was such a huge hit everybody wanted to know more about me and Los Straitjackets, so we finally went down and did a couple of shows in Mexico City and Guadalajara,” Amis says. “It was amazing the response we got.”\u003c/p>\n\u003cp>Bear in mind, we’re talking about a group that draws on the average “a couple hundred” folks to gigs in America. Last fall, Amis and his masked men attracted a frenzied audience of 50,000 to Mexico City’s Foro Sol arena -- two nights in a row.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=SKgidw7glcw&w=640&h=350]\u003c/p>\n\u003cp>“It’s huge! What he’s got going on down there is huge and really unbelievable,” says musician Ben Vaughn. He produced Los Straitjackets’ first three albums and has known Amis since 1983. “It’s a mystery to me, but it also makes sense, mainly because it’s Danny Amis. He’s a visionary and he doesn’t question his motives. He just follows whatever he’s excited about.”\u003c/p>\n\u003cp>Amis also takes Daddy-O Grande very seriously.\u003c/p>\n\u003cp>“He never takes the mask off when he’s down there,” Vaughn reveals. “He goes out to dinner, after sound check, keeps it on. He’s very dedicated to Daddy-O Grande, and they love him down there. He’s the right guy, and Los Straitjackets are the right band. It’s a really interesting phenomenon.”\u003c/p>\n\u003cp>While Amis was in Mexico City last year, he joined forces with the Twin Tones, spending a week in the band’s studio recording, Super Spy Western Tones. A successful Kickstarter campaign helped fund the project.\u003c/p>\n\u003cp>“This album is more than a collaboration between Danny and Los Twin Tones,” offers Vaughn. “It’s actually more cinematic almost, because of the orchestration and the horns and the strings, and the elements of film music dramatics and melodies. It has a sweeping larger feel than a standard instrumental record.”\u003c/p>\n\u003cp>The international project was hatched years ago, but was shelved when Amis hit a major, and very unexpected, road bump.\u003c/p>\n\u003cp>“We had talked about doing some recording together, but of course everything got put on hold when I got cancer,” Amis says. “I had a stem cell transplant to treat multiple myeloma. It got everything under control. I’m not technically in remission, but I’m doing OK, so last year we finally got together and made it happen.”\u003c/p>\n\u003cp>While he still records with Los Straitjackets, he no longer tours with the band, leaving him free to leave California for the land that he loves where his music is king, and he is the godfather.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It dawned on me, you know my favorite place in the world is Mexico City. The more I thought about it, I thought that’s where I really want to be,” says Amis. “I’ll probably play and record a lot more music down there because I don’t have to travel to do it. I got cancer in 2010, and a year ago I had a heart attack. Now I have the two leading causes of death and I’m still here. And I feel like I’m the luckiest guy in the world.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To see Danny Amis waiting to cross the street, to see him in line at the market, to see him pumping gas or petting his small dog, Seymour, are not particularly memorable sights. He is a soft-spoken, middle-aged guy, a regular joe, a man who walks among his fellow Californians unnoticed.\u003c/p>\n\u003cp>But to see him wearing a Mexican wrestling mask and a tuxedo, slinging a sparkling \u003ca href=\"http://www.dipintoguitars.com/category.php?id=1\">DiPinto guitar\u003c/a> onstage south of the border in front of tens of raging thousands is to see a transformation not soon forgotten. For this is no longer Danny Amis, this is the legendary Daddy-O Grande of the instrumental band \u003ca href=\"http://www.yeproc.com/artists/los-straitjackets\">Los Straitjackets\u003c/a>, a longtime cult favorite in the states that’s inspired a massive music scene in Mexico, where this simple chap has become an icon.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/178827643&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/178827643'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Danny Amis is considered the godfather of the surf music sound here in Mexico,” says Gabriel Lopez, guitarist for Twin Tones, a wildly popular Mexican group that has collaborated with Amis on the aptly named new album \"Super Spy Western Tones.\" “He's very respected and his songs have been covered by an enormous number of bands here.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/superspysleeve350.jpg\">\u003cimg class=\"alignright size-full wp-image-10344301\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/superspysleeve350.jpg\" alt=\"LPJ1200S PSD\" width=\"350\" height=\"350\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350.jpg 350w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350-75x75.jpg 75w\" sizes=\"(max-width: 350px) 100vw, 350px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The beautifully produced instrumental collection is a bold soundtrack of primal twang, moody reverb and the six-string sound of the spaghetti West, songs written mostly by Amis that are as evocative of time and place as they are catchy.\u003c/p>\n\u003cp>“For a whole generation, mine and the one after, the guitar-playing style of Danny Amis was a huge influence,” continues Lopez. “I think it's a sound that a lot of Mexican bands consciously and unconsciously adopted.”\u003c/p>\n\u003cp>Born in Memphis, Amis grew up in Minneapolis, where he got his first exposure to the music that would pattern his life. “When I was a little kid my older brother had all the Ventures records and Link Wray and Duane Eddy records,” he says. “I just grew up with that as my definition of what an electric guitar should sound like.”\u003c/p>\n\u003cp>By the late ‘70s, Amis was leading his first instrumental band, The Overtones, before heading to New York in 1980 to join the seminal surf combo \u003ca href=\"http://www.bar-none.com/bios/raybio.html\">The Raybeats\u003c/a>. His next move was to Nashville, where he worked for the Grand Ole Opry as an audio engineer and, briefly, for a late incarnation of “Hee Haw.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/5FjpHTiImBk'\n title='//www.youtube.com/embed/5FjpHTiImBk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“It was excruciating,” Amis recalls. “Fourteen takes of the same joke.”\u003c/p>\n\u003cp>In 1989 he took a fateful trip south of the border, one that would spark an ongoing passion for Mexico. “First time I went down I was just looking for some sort of an adventure,” Amis says. “I took a bus down to Chihuahua. I had heard some Mexican rock and roll stuff, and I wanted to look for some of that, so I went to a record store. I not only found that, but I found a lot of new bands from Mexico City that were just dynamite. I felt at home right away and I knew I wouldn’t be able to stay away, so I’ve been going back pretty regularly ever since.”\u003c/p>\n\u003cp>In 1994 Amis co-founded Los Straitjackets, and it wasn’t long before bootleg copies of the group’s music began filtering into Mexico. The ingredients were ripe for popularity. The band all wore Lucha Libre masks, the music was fun, festive and powerful, and translation was not an issue. There were no lyrics.\u003c/p>\n\u003cp>Initially, however, Amis admits concern that the masks might have been viewed as culturally insensitive. “We had that fear a little but it was the opposite,” he says. “They were flattered that an American band would find elements of their culture really cool and really hip, which we do, and they just didn’t expect that. It touched a nerve down there, and then a whole music scene.”\u003c/p>\n\u003cp>Amis befriended one of the first groups in that scene,\u003ca href=\"http://www.lostacapulco.com/\"> Lost Acapulco\u003c/a>, and produced its hit debut album in 1998.\u003c/p>\n\u003cp>“When you have a chemical music thing it’s very easy to play and to do music, and that’s what happened with Danny and Lost Acapulco,” says Caleb Franco, aka Senor Ramirez, the band’s bassist. “We are big fans of Los Straitjackets as well. There’s so much influence for us. Of course, they wear wrestling masks, which is really good for Mexicans, but I think the crowd in Mexico likes their music so much [because] it’s so clear, so clean and super fantastic.”\u003c/p>\n\u003cp>The popularity of the Lost Acapulco album paved the way for Los Straitjackets to cross the border. “Because it was such a huge hit everybody wanted to know more about me and Los Straitjackets, so we finally went down and did a couple of shows in Mexico City and Guadalajara,” Amis says. “It was amazing the response we got.”\u003c/p>\n\u003cp>Bear in mind, we’re talking about a group that draws on the average “a couple hundred” folks to gigs in America. Last fall, Amis and his masked men attracted a frenzied audience of 50,000 to Mexico City’s Foro Sol arena -- two nights in a row.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/SKgidw7glcw'\n title='//www.youtube.com/embed/SKgidw7glcw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“It’s huge! What he’s got going on down there is huge and really unbelievable,” says musician Ben Vaughn. He produced Los Straitjackets’ first three albums and has known Amis since 1983. “It’s a mystery to me, but it also makes sense, mainly because it’s Danny Amis. He’s a visionary and he doesn’t question his motives. He just follows whatever he’s excited about.”\u003c/p>\n\u003cp>Amis also takes Daddy-O Grande very seriously.\u003c/p>\n\u003cp>“He never takes the mask off when he’s down there,” Vaughn reveals. “He goes out to dinner, after sound check, keeps it on. He’s very dedicated to Daddy-O Grande, and they love him down there. He’s the right guy, and Los Straitjackets are the right band. It’s a really interesting phenomenon.”\u003c/p>\n\u003cp>While Amis was in Mexico City last year, he joined forces with the Twin Tones, spending a week in the band’s studio recording, Super Spy Western Tones. A successful Kickstarter campaign helped fund the project.\u003c/p>\n\u003cp>“This album is more than a collaboration between Danny and Los Twin Tones,” offers Vaughn. “It’s actually more cinematic almost, because of the orchestration and the horns and the strings, and the elements of film music dramatics and melodies. It has a sweeping larger feel than a standard instrumental record.”\u003c/p>\n\u003cp>The international project was hatched years ago, but was shelved when Amis hit a major, and very unexpected, road bump.\u003c/p>\n\u003cp>“We had talked about doing some recording together, but of course everything got put on hold when I got cancer,” Amis says. “I had a stem cell transplant to treat multiple myeloma. It got everything under control. I’m not technically in remission, but I’m doing OK, so last year we finally got together and made it happen.”\u003c/p>\n\u003cp>While he still records with Los Straitjackets, he no longer tours with the band, leaving him free to leave California for the land that he loves where his music is king, and he is the godfather.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It dawned on me, you know my favorite place in the world is Mexico City. The more I thought about it, I thought that’s where I really want to be,” says Amis. “I’ll probably play and record a lot more music down there because I don’t have to travel to do it. I got cancer in 2010, and a year ago I had a heart attack. Now I have the two leading causes of death and I’m still here. And I feel like I’m the luckiest guy in the world.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Music Review: Deerhoof's 'La Isla Bonita'",
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"content": "\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/175196372\" params=\"color=ff5500&inverse=false&auto_play=false&show_user=true\" width=\"100%\" height=\"20\" iframe=\"true\" /]\u003c/p>\n\u003cp>Deerhoof called its new album “La Isla Bonita”—the beautiful island —and included a song called “Tiny Bubbles.” No, it’s not the song made famous by Hawaiian lounge lord Don Ho. It sounds more like an Ennio Morricone spaghetti Western theme. But 20 years into a career, with a dozen albums and scores of side projects, is Deerhoof trying to show it has a sense of humor?\u003c/p>\n\u003cp>Whatever is going on, it’s a winning turn. Deerhoof has previously made music often associated with the sounds of the German Krautrock movement of the ‘70s, or of early Sonic Youth —a bit cold, perhaps, and certainly very art-conscious. It’s been cited by such innovators as St. Vincent, Tune-Yards and even Flaming Lips as an influence, but has not gained the kind of renown of those followers.\u003c/p>\n\u003cp>The spark behind “La Isla Bonita,” though, was a whole other aesthetic: That of the Ramones. Deerhoof has covered “Pinhead” in concert regularly over the years. This time it really took hold, at least in approach.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/prc286.jpg\">\u003cimg class=\"alignright size-thumbnail wp-image-10345600\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/prc286-400x400.jpg\" alt=\"Deerhoof's 'La Isla Bonita'\" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286.jpg 1425w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The song “Exit Only” was the first recorded for this album and stands as its centerpiece, all about being in, of and for the moment. With the Ramones in mind, recording was all done live in guitarist Ed Rodriguez’s basement -- during what drummer and co-founder Greg Saunier has described as “a weeklong sleepover arguing over whether to try and sound like Joan Jett or Janet Jackson.”\u003c/p>\n\u003cp>And if that doesn’t sound like fun, what does? They even sound like they’re enjoying a song they’ve titled “Doom.”\u003c/p>\n\u003cp>For all that, this is still very recognizable as Deerhoof. The combination of Satomi Matsuzaki’s voice and bass, the jabbing and poking guitars of Rodriguez and John Dieterich, and Saunier’s sharp drumming still carry the precision of classic Krautrock, that arty cool. But the urgency of the recording has ensured that the feelings, even emotions in these songs, are not sublimated, not hidden in the artiness.\u003c/p>\n\u003cp>And yes, there is a darkness to it. Serious matters are afoot in these songs: Society is crumbling, the future is uncertain, communication is frustrating. But there’s also a self-awareness, with more than a wink. The closing song, a real tour de force of downcast disco bumping up against Radiohead, is given the purposefully eye-rolling title “Oh Bummer.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Throughout, these little jokes abound, such as putting the title “God 2” on a churning new wave surf-rock instrumental. It’s the perfect soundtrack for a sunset on the beach of “La Isla Bonita.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='20'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/175196372&visual=true&color=ff5500&inverse=false&auto_play=false&show_user=true'\n title='https://api.soundcloud.com/tracks/175196372'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Deerhoof called its new album “La Isla Bonita”—the beautiful island —and included a song called “Tiny Bubbles.” No, it’s not the song made famous by Hawaiian lounge lord Don Ho. It sounds more like an Ennio Morricone spaghetti Western theme. But 20 years into a career, with a dozen albums and scores of side projects, is Deerhoof trying to show it has a sense of humor?\u003c/p>\n\u003cp>Whatever is going on, it’s a winning turn. Deerhoof has previously made music often associated with the sounds of the German Krautrock movement of the ‘70s, or of early Sonic Youth —a bit cold, perhaps, and certainly very art-conscious. It’s been cited by such innovators as St. Vincent, Tune-Yards and even Flaming Lips as an influence, but has not gained the kind of renown of those followers.\u003c/p>\n\u003cp>The spark behind “La Isla Bonita,” though, was a whole other aesthetic: That of the Ramones. Deerhoof has covered “Pinhead” in concert regularly over the years. This time it really took hold, at least in approach.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/prc286.jpg\">\u003cimg class=\"alignright size-thumbnail wp-image-10345600\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/prc286-400x400.jpg\" alt=\"Deerhoof's 'La Isla Bonita'\" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286.jpg 1425w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The song “Exit Only” was the first recorded for this album and stands as its centerpiece, all about being in, of and for the moment. With the Ramones in mind, recording was all done live in guitarist Ed Rodriguez’s basement -- during what drummer and co-founder Greg Saunier has described as “a weeklong sleepover arguing over whether to try and sound like Joan Jett or Janet Jackson.”\u003c/p>\n\u003cp>And if that doesn’t sound like fun, what does? They even sound like they’re enjoying a song they’ve titled “Doom.”\u003c/p>\n\u003cp>For all that, this is still very recognizable as Deerhoof. The combination of Satomi Matsuzaki’s voice and bass, the jabbing and poking guitars of Rodriguez and John Dieterich, and Saunier’s sharp drumming still carry the precision of classic Krautrock, that arty cool. But the urgency of the recording has ensured that the feelings, even emotions in these songs, are not sublimated, not hidden in the artiness.\u003c/p>\n\u003cp>And yes, there is a darkness to it. Serious matters are afoot in these songs: Society is crumbling, the future is uncertain, communication is frustrating. But there’s also a self-awareness, with more than a wink. The closing song, a real tour de force of downcast disco bumping up against Radiohead, is given the purposefully eye-rolling title “Oh Bummer.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Throughout, these little jokes abound, such as putting the title “God 2” on a churning new wave surf-rock instrumental. It’s the perfect soundtrack for a sunset on the beach of “La Isla Bonita.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Pop Music Review: Lucinda Williams' 'Down Where the Spirit Meets the Bone'",
"title": "Pop Music Review: Lucinda Williams' 'Down Where the Spirit Meets the Bone'",
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"content": "\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/09/2014-09-26c-tcrmag.mp3\u003c/p>\n\u003cp>Throughout Lucinda Williams’ recording career, some 35 years now, she has sought out songwriting advice and criticism from one man, a noted poet who has served as her mentor. \u003ca href=\"http://www.poetryfoundation.org/bio/miller-williams\" target=\"_blank\">Miller Williams\u003c/a> also happens to be her dad, still going strong at age 84. But for the first time, with the song, “Compassion,” she sets one of his poems to music.\u003c/p>\n\u003cp>It’s an intimate, moving tribute that both opens and provides the title for her new album, “Down Where the Spirit Meets the Bone.”\u003c/p>\n\u003cp>Miller Williams is a strong proponent of economy of language. Over the years, Lucinda has embraced this paring of things down to the bone as her most immediately recognizable artistic trait — alongside her laconic, Southern-bred drawl. Often in the course of a song, she’ll craft one short phrase and repeat it over and over until it’s the very essence of emotion, as she does with the “spirit meets the bone” line.\u003c/p>\n\u003cp>It’s what ties this album together, across a sprawling span of 20 songs. It’s a vast sweep of emotions, from the tenderness of “Compassion” to the tart anger of “Foolishness.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Down Where the Spirit Meets the Bone” is an ambitious statement, arguably the most so of Williams’ already considerable career. And in another first for her, there’s an array of guests helping out, which for some artists would seem a sign of insecurity but here comes off as underscoring a sense of confidence.\u003c/p>\n\u003cp>Jakob Dylan joins her singing “It’s Gonna Rain,” at once hopeful and somber, the rain both a promise and a threat. The mixed emotions are further illustrated by the snaky lines of guest guitarist Bill Frisell darting around those of longtime Williams cohort Greg Leisz, who also served as co-producer for the album.\u003c/p>\n\u003cp>Other guests include Faces keyboardist Ian McLagan and drummer Pete Thomas of Elvis Costello’s Attractions. And Williams enlists Tony Joe White to thread his distinctively swampy guitar through “West Memphis,” the real-life tale of a famously disputed murder case from the ‘90s. In her hands it becomes an epic, backwoods gothic song-story in the mode of Bobbie Gentry or Tony Joe White.\u003c/p>\n\u003cp>That Southern, swampy feel is also found in the gospel-soul chorus of “Protection” and the Stax-like horns on “One More Day,” while “Burning Bridges” would make a solid cover candidate for Tom Petty (a fan who has done Williams \"I Changed the Locks” in the past). And there’s the sultry menace of “Something Wicked This Way Comes.” And she concludes with another homage to a master of economy, covering “Magnolia” by JJ Cale, who died last year.\u003c/p>\n\u003cp>When it’s all done, Williams has brought out the full range of country-folk-rock shadings she’s used in the past. And there’s at least one specific allusion to her catalog, as in the stern “Everything But the Truth” she tells a troubled friend to take charge of life — “you gotta settle up with this sweet old world” — citing her 1992 song “Sweet Old World,” a too-late note to a friend who’d committed suicide.\u003c/p>\n\u003cp>The difference is key. Where “Sweet Old World” was a tender, sorrowful scolding of a lost spirit, this is a get-it-together admonishment meant to have impact before it’s too late. Similarly, “Bone” is not a passive look back, not a career summation. This is a career-\u003ci>defining\u003c/i> album in its scope and sweep.\u003c/p>\n\u003cp>At the center of “Bone” is that thin line between hope and dread. Several songs catalog complaints, troubles, heartaches — a “Big Mess,” as one song title puts it, explicitly. Ultimately, though, it’s hope that tips the scale, no more profoundly than in “When I Look at the World.”\u003c/p>\n\u003cp>“I’ve been unwelcome, I’ve been unloved,” she sings — but then she sees the world “in all its glory,” in a different way every time she looks at it.\u003c/p>\n\u003cp>Simply putting out a 20-song double album is a risky move, and for someone known for artistic economy, it's something that might seem an indulgent disconnect. Is every song a treasure? Of course not. But with her spirited reach, Lucinda Williams at 61 has made an album that stands with her best, a series of songs that ask \u003ci>us\u003c/i> to join her in looking at the world anew.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More: \u003ca href=\"http://lucindawilliams.com/splash-page/\" target=\"_blank\">Lucinda WIlliams' Website\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/09/2014-09-26c-tcrmag.mp3\u003c/p>\n\u003cp>Throughout Lucinda Williams’ recording career, some 35 years now, she has sought out songwriting advice and criticism from one man, a noted poet who has served as her mentor. \u003ca href=\"http://www.poetryfoundation.org/bio/miller-williams\" target=\"_blank\">Miller Williams\u003c/a> also happens to be her dad, still going strong at age 84. But for the first time, with the song, “Compassion,” she sets one of his poems to music.\u003c/p>\n\u003cp>It’s an intimate, moving tribute that both opens and provides the title for her new album, “Down Where the Spirit Meets the Bone.”\u003c/p>\n\u003cp>Miller Williams is a strong proponent of economy of language. Over the years, Lucinda has embraced this paring of things down to the bone as her most immediately recognizable artistic trait — alongside her laconic, Southern-bred drawl. Often in the course of a song, she’ll craft one short phrase and repeat it over and over until it’s the very essence of emotion, as she does with the “spirit meets the bone” line.\u003c/p>\n\u003cp>It’s what ties this album together, across a sprawling span of 20 songs. It’s a vast sweep of emotions, from the tenderness of “Compassion” to the tart anger of “Foolishness.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Down Where the Spirit Meets the Bone” is an ambitious statement, arguably the most so of Williams’ already considerable career. And in another first for her, there’s an array of guests helping out, which for some artists would seem a sign of insecurity but here comes off as underscoring a sense of confidence.\u003c/p>\n\u003cp>Jakob Dylan joins her singing “It’s Gonna Rain,” at once hopeful and somber, the rain both a promise and a threat. The mixed emotions are further illustrated by the snaky lines of guest guitarist Bill Frisell darting around those of longtime Williams cohort Greg Leisz, who also served as co-producer for the album.\u003c/p>\n\u003cp>Other guests include Faces keyboardist Ian McLagan and drummer Pete Thomas of Elvis Costello’s Attractions. And Williams enlists Tony Joe White to thread his distinctively swampy guitar through “West Memphis,” the real-life tale of a famously disputed murder case from the ‘90s. In her hands it becomes an epic, backwoods gothic song-story in the mode of Bobbie Gentry or Tony Joe White.\u003c/p>\n\u003cp>That Southern, swampy feel is also found in the gospel-soul chorus of “Protection” and the Stax-like horns on “One More Day,” while “Burning Bridges” would make a solid cover candidate for Tom Petty (a fan who has done Williams \"I Changed the Locks” in the past). And there’s the sultry menace of “Something Wicked This Way Comes.” And she concludes with another homage to a master of economy, covering “Magnolia” by JJ Cale, who died last year.\u003c/p>\n\u003cp>When it’s all done, Williams has brought out the full range of country-folk-rock shadings she’s used in the past. And there’s at least one specific allusion to her catalog, as in the stern “Everything But the Truth” she tells a troubled friend to take charge of life — “you gotta settle up with this sweet old world” — citing her 1992 song “Sweet Old World,” a too-late note to a friend who’d committed suicide.\u003c/p>\n\u003cp>The difference is key. Where “Sweet Old World” was a tender, sorrowful scolding of a lost spirit, this is a get-it-together admonishment meant to have impact before it’s too late. Similarly, “Bone” is not a passive look back, not a career summation. This is a career-\u003ci>defining\u003c/i> album in its scope and sweep.\u003c/p>\n\u003cp>At the center of “Bone” is that thin line between hope and dread. Several songs catalog complaints, troubles, heartaches — a “Big Mess,” as one song title puts it, explicitly. Ultimately, though, it’s hope that tips the scale, no more profoundly than in “When I Look at the World.”\u003c/p>\n\u003cp>“I’ve been unwelcome, I’ve been unloved,” she sings — but then she sees the world “in all its glory,” in a different way every time she looks at it.\u003c/p>\n\u003cp>Simply putting out a 20-song double album is a risky move, and for someone known for artistic economy, it's something that might seem an indulgent disconnect. Is every song a treasure? Of course not. But with her spirited reach, Lucinda Williams at 61 has made an album that stands with her best, a series of songs that ask \u003ci>us\u003c/i> to join her in looking at the world anew.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More: \u003ca href=\"http://lucindawilliams.com/splash-page/\" target=\"_blank\">Lucinda WIlliams' Website\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/09/2014-09-19d-tcrmag.mp3\u003c/p>\n\u003cfigure id=\"attachment_10341858\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/JazzEnsemble.jpg\">\u003cimg class=\"wp-image-10341858 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/JazzEnsemble-400x225.jpg\" alt=\"Ensemble director Eva Scow teaches seventh-, eighth- and ninth-graders how to improvise and play jazz. She's one of several musicians teaching for the Milestones Youth Jazz Workshop. (Alice Daniel/KQED)\" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/09/JazzEnsemble-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/09/JazzEnsemble.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ensemble director Eva Scow teaches seventh-, eighth- and ninth-graders how to improvise and play jazz. She's one of several musicians teaching for the Milestones Youth Jazz Workshop. (Alice Daniel/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Jim Page feels the anxiety in the beat of his heart, but he tells himself that all that adrenaline rushing through his body is really just excitement.\u003c/p>\n\u003cp>And he is excited (OK, he concedes, he’s nervous, too) as he calls to kids and parents outside a band room at Alta Vista Middle School in Fresno to come in and sit down. It’s the first rehearsal night of the year for a program he started three years ago: the \u003ca href=\"http://milestonesjazz.org\" target=\"_blank\">Milestones Youth Jazz Workshop\u003c/a>.\u003c/p>\n\u003cp>“It occurred to me that so many kids didn’t have access to jazz education and performance programs,” he says. “It just didn’t seem fair.”\u003c/p>\n\u003cp>Fifty kids from middle and high schools in and around Fresno signed up this year to play in ensembles that meet once a week.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“About half the schools where kids come from don’t have jazz programs. So, for them, Milestones is it,” says Page. “Jazz builds a kid’s confidence. If you can stand up in front of an audience full of people and play a solo, what else in life is going to bring you down?”\u003c/p>\n\u003cp>Jazz educators direct the program’s five ensembles. Mandolinist and violinist \u003ca href=\"http://www.evascowmusic.com\" target=\"_blank\">Eva Scow\u003c/a> works with an intermediate group of seventh-, eighth- and ninth-graders. Jazz is stimulating for them, she says. “It’s like learning how to speak another language. They’re all pretty competent on their instruments already. I don’t have to teach them how to play, so we can get right into improvisation and finding their own voice in this style.”\u003c/p>\n\u003cp>In fact, she begins the class with that very idea. “Our goal in Milestones is to teach you how to play jazz, but also to teach you how to play together, right?” Scow says to her group of eager students. “So playing in a jazz band, you’re going to come across a lot of different things that maybe aren’t going to be on paper or maybe you’re not going to be comfortable with or used to.”\u003c/p>\n\u003cp>Seventh-grader Leo Parrigilli says he likes being able to experiment with notes. “When you improvise, that’s where the creativeness comes in and even when you’re reading music, you can add little dynamics. You can do trills or maybe do a note that’s maybe a slightly bit higher, and it just makes it sound awesome with the rest of the group.”\u003c/p>\n\u003cp>Leo says he’s learned so many things through Milestones. “Like how to fix my ambusher, how to play my notes better and have a better airstream,” he says.\u003c/p>\n\u003cp>Scow plays a tune over the speaker and asks the class where samba originated. “Rio,” someone yells out. “Yes!” she replies. “Oh, my goodness! First try. Brazil. So this is a Brazilian rhythm,” she says and asks for a bossa nova beat. The drummer begins, followed by the bass player.\u003c/p>\n\u003cp>Scow asks someone to demonstrate the melody and eighth-grader Daeshavon Ricks raises her hand. She plays saxophone and says she loves Charlie Parker and John Coltrane.\u003c/p>\n\u003cp>Daeshavon says there isn’t a jazz program at her school, but when she heard a Milestones group play she immediately loved the sound.\u003c/p>\n\u003cp>“I had never heard of jazz. And the way that they played, it just really touched my heart,” she says. “What I like about jazz is that you can improvise and be yourself when you play.”\u003c/p>\n\u003cp>Daeshavon says she got a scholarship to join Milestones. “I live with my mom. She’s a single parent, and wouldn’t be able to afford it with four other kids,” she says. She’s quick to note her family loves to come hear her play.\u003c/p>\n\u003cp>Milestones operates under the nonprofit \u003ca href=\"http://www.jazzfresno.org/index.php/home/contacts/25-uncategorised/24-jim-page\" target=\"_blank\">Jazz Fresno\u003c/a> and has an open access policy. It doesn’t turn away any kid who really wants to participate, Page says. The project runs on grants and donations; the students help with fundraisers to bring in extra money.\u003c/p>\n\u003cp>\"This program, really it’s all about partnerships,” Page says. “We started out with the schools. Last summer, we provided scholarships to go to our summer program. And in return, two school districts are providing facilities for us for our school-year program at no cost.”\u003c/p>\n\u003cp>Classically trained violinist Scout Whitaker, 14, says she just started playing with Milestones this year. “I’ve never played jazz before,” she says. “There’s a form that you follow, but it’s much more relaxed. It brings more improvisation that really doesn’t happen in classical music, but it’s such an important musical quality.”\u003c/p>\n\u003cp>Still playing the Brazilian rhythm, Scow turns to Scout and asks, “My sight reader over here. Are you feeling comfortable with it? I bet you could play that, right? You wanna try? Are you feeling it?”\u003c/p>\n\u003cp>Scout picks up her violin and, by the end of tune, everyone in the room is clapping for her solo.\u003c/p>\n\u003cp>“I feel like it’s truly music because it’s emotions that you’re trying to portray. It’s not emotions that were written down for you,” Scout says. “It’s improv. You make it up as you go, it’s what you feel.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Leo puts it another way. “Jazz is just so fun!” he says.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/09/2014-09-19d-tcrmag.mp3\u003c/p>\n\u003cfigure id=\"attachment_10341858\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/JazzEnsemble.jpg\">\u003cimg class=\"wp-image-10341858 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/JazzEnsemble-400x225.jpg\" alt=\"Ensemble director Eva Scow teaches seventh-, eighth- and ninth-graders how to improvise and play jazz. She's one of several musicians teaching for the Milestones Youth Jazz Workshop. (Alice Daniel/KQED)\" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/09/JazzEnsemble-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/09/JazzEnsemble.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ensemble director Eva Scow teaches seventh-, eighth- and ninth-graders how to improvise and play jazz. She's one of several musicians teaching for the Milestones Youth Jazz Workshop. (Alice Daniel/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Jim Page feels the anxiety in the beat of his heart, but he tells himself that all that adrenaline rushing through his body is really just excitement.\u003c/p>\n\u003cp>And he is excited (OK, he concedes, he’s nervous, too) as he calls to kids and parents outside a band room at Alta Vista Middle School in Fresno to come in and sit down. It’s the first rehearsal night of the year for a program he started three years ago: the \u003ca href=\"http://milestonesjazz.org\" target=\"_blank\">Milestones Youth Jazz Workshop\u003c/a>.\u003c/p>\n\u003cp>“It occurred to me that so many kids didn’t have access to jazz education and performance programs,” he says. “It just didn’t seem fair.”\u003c/p>\n\u003cp>Fifty kids from middle and high schools in and around Fresno signed up this year to play in ensembles that meet once a week.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“About half the schools where kids come from don’t have jazz programs. So, for them, Milestones is it,” says Page. “Jazz builds a kid’s confidence. If you can stand up in front of an audience full of people and play a solo, what else in life is going to bring you down?”\u003c/p>\n\u003cp>Jazz educators direct the program’s five ensembles. Mandolinist and violinist \u003ca href=\"http://www.evascowmusic.com\" target=\"_blank\">Eva Scow\u003c/a> works with an intermediate group of seventh-, eighth- and ninth-graders. Jazz is stimulating for them, she says. “It’s like learning how to speak another language. They’re all pretty competent on their instruments already. I don’t have to teach them how to play, so we can get right into improvisation and finding their own voice in this style.”\u003c/p>\n\u003cp>In fact, she begins the class with that very idea. “Our goal in Milestones is to teach you how to play jazz, but also to teach you how to play together, right?” Scow says to her group of eager students. “So playing in a jazz band, you’re going to come across a lot of different things that maybe aren’t going to be on paper or maybe you’re not going to be comfortable with or used to.”\u003c/p>\n\u003cp>Seventh-grader Leo Parrigilli says he likes being able to experiment with notes. “When you improvise, that’s where the creativeness comes in and even when you’re reading music, you can add little dynamics. You can do trills or maybe do a note that’s maybe a slightly bit higher, and it just makes it sound awesome with the rest of the group.”\u003c/p>\n\u003cp>Leo says he’s learned so many things through Milestones. “Like how to fix my ambusher, how to play my notes better and have a better airstream,” he says.\u003c/p>\n\u003cp>Scow plays a tune over the speaker and asks the class where samba originated. “Rio,” someone yells out. “Yes!” she replies. “Oh, my goodness! First try. Brazil. So this is a Brazilian rhythm,” she says and asks for a bossa nova beat. The drummer begins, followed by the bass player.\u003c/p>\n\u003cp>Scow asks someone to demonstrate the melody and eighth-grader Daeshavon Ricks raises her hand. She plays saxophone and says she loves Charlie Parker and John Coltrane.\u003c/p>\n\u003cp>Daeshavon says there isn’t a jazz program at her school, but when she heard a Milestones group play she immediately loved the sound.\u003c/p>\n\u003cp>“I had never heard of jazz. And the way that they played, it just really touched my heart,” she says. “What I like about jazz is that you can improvise and be yourself when you play.”\u003c/p>\n\u003cp>Daeshavon says she got a scholarship to join Milestones. “I live with my mom. She’s a single parent, and wouldn’t be able to afford it with four other kids,” she says. She’s quick to note her family loves to come hear her play.\u003c/p>\n\u003cp>Milestones operates under the nonprofit \u003ca href=\"http://www.jazzfresno.org/index.php/home/contacts/25-uncategorised/24-jim-page\" target=\"_blank\">Jazz Fresno\u003c/a> and has an open access policy. It doesn’t turn away any kid who really wants to participate, Page says. The project runs on grants and donations; the students help with fundraisers to bring in extra money.\u003c/p>\n\u003cp>\"This program, really it’s all about partnerships,” Page says. “We started out with the schools. Last summer, we provided scholarships to go to our summer program. And in return, two school districts are providing facilities for us for our school-year program at no cost.”\u003c/p>\n\u003cp>Classically trained violinist Scout Whitaker, 14, says she just started playing with Milestones this year. “I’ve never played jazz before,” she says. “There’s a form that you follow, but it’s much more relaxed. It brings more improvisation that really doesn’t happen in classical music, but it’s such an important musical quality.”\u003c/p>\n\u003cp>Still playing the Brazilian rhythm, Scow turns to Scout and asks, “My sight reader over here. Are you feeling comfortable with it? I bet you could play that, right? You wanna try? Are you feeling it?”\u003c/p>\n\u003cp>Scout picks up her violin and, by the end of tune, everyone in the room is clapping for her solo.\u003c/p>\n\u003cp>“I feel like it’s truly music because it’s emotions that you’re trying to portray. It’s not emotions that were written down for you,” Scout says. “It’s improv. You make it up as you go, it’s what you feel.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Leo puts it another way. “Jazz is just so fun!” he says.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/08/2014-08-29d-tcrmag.mp3\u003c/p>\n\u003cp>A ganglion is a cluster of nerve cells. \"Ganglion Reef\" is the title of the debut album from the Los Angeles band Wand. If that makes you expect some sensory overload, you’d be right.\u003c/p>\n\u003cp>The quartet brings spirit, style and appealing pop sensibilities to the world of fuzzed-out, DIY psychedelia. But it also brings wit and whimsy, as the song titles “Flying Golem” and “Strange Inertia (Cntl Alt Death)” make plain. Throughout this album, the band is as equally inclined to poke fun at its chosen genre as it is to embrace it.\u003c/p>\n\u003cp>But of course if “Strange Inertia”and “Flying Golem” were only whimsy, they wouldn’t, well, fly. The thing is, these are good songs. Wand may joke, but this is no joke act. And the band does embrace the genre: Right from the start, with the album’s opening song “Send/Receive (Mind),” Wand firmly sets the controls for the heart of the sun.\u003c/p>\n\u003cp>Listen to \"Flying Golem\":\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/151929554\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>Early Pink Floyd, the Syd Barrett years in particular, are at the heart of Wand’s sun. Frontman Cory Hanson has affection for and affinity with Barrett’s askew, lysergic bent. But a range of psychedelic styles get the nod here: “Clearer” recalls Status Quo’s ‘60s classic “Pictures of Matchstick Men”—and while it’s hard to make out the lyrics, it sounds like Hanson sings something about Lucy? Maybe in the skies? Distinct lyrics are not the Wand's strong point, nor really the point.\u003c/p>\n\u003cp>In the context of the current, vibrant California fuzz-rock scene, Wand at times leans closer to the pop fun of fellow Angelenos Foxygen than to tireless garage-savant Ty Segall, who is putting this album out on his new GOD? Records label and taking the band on tour as his opening act.\u003c/p>\n\u003cp>Where Wand comes into its own is in some of the textures, including places where Hanson adds occasional electronic noises to the guitar-centric sound — think Brian Eno in early \u003ca href=\"http://www.roxymusic.co.uk/\" target=\"_blank\">Roxy Music\u003c/a>, not Rick Wakeman in Yes. And there are signs of ambition to balance the whimsy: “Fire On the Mountain” goes through several phases in the course of its five minutes, from floaty to funky-bouncy to freak-folky.\u003c/p>\n\u003cp>Ganglion Reef ends with “Generator Larping,” its longest and most sonically refined piece, a closing note pointing to a world of possibilities. Not that we’re predicting this will be the next Radiohead, let alone Pink Floyd. Of course, Radiohead has never really been known for a sense of humor. Nor has Pink Floyd. Maybe that will be the Wand magic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More: \u003ca href=\"http://www.dragcity.com/artists/wand\" target=\"_blank\">About Wand (DragCity.com)\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/08/2014-08-29d-tcrmag.mp3\u003c/p>\n\u003cp>A ganglion is a cluster of nerve cells. \"Ganglion Reef\" is the title of the debut album from the Los Angeles band Wand. If that makes you expect some sensory overload, you’d be right.\u003c/p>\n\u003cp>The quartet brings spirit, style and appealing pop sensibilities to the world of fuzzed-out, DIY psychedelia. But it also brings wit and whimsy, as the song titles “Flying Golem” and “Strange Inertia (Cntl Alt Death)” make plain. Throughout this album, the band is as equally inclined to poke fun at its chosen genre as it is to embrace it.\u003c/p>\n\u003cp>But of course if “Strange Inertia”and “Flying Golem” were only whimsy, they wouldn’t, well, fly. The thing is, these are good songs. Wand may joke, but this is no joke act. And the band does embrace the genre: Right from the start, with the album’s opening song “Send/Receive (Mind),” Wand firmly sets the controls for the heart of the sun.\u003c/p>\n\u003cp>Listen to \"Flying Golem\":\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/151929554&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/151929554'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Early Pink Floyd, the Syd Barrett years in particular, are at the heart of Wand’s sun. Frontman Cory Hanson has affection for and affinity with Barrett’s askew, lysergic bent. But a range of psychedelic styles get the nod here: “Clearer” recalls Status Quo’s ‘60s classic “Pictures of Matchstick Men”—and while it’s hard to make out the lyrics, it sounds like Hanson sings something about Lucy? Maybe in the skies? Distinct lyrics are not the Wand's strong point, nor really the point.\u003c/p>\n\u003cp>In the context of the current, vibrant California fuzz-rock scene, Wand at times leans closer to the pop fun of fellow Angelenos Foxygen than to tireless garage-savant Ty Segall, who is putting this album out on his new GOD? Records label and taking the band on tour as his opening act.\u003c/p>\n\u003cp>Where Wand comes into its own is in some of the textures, including places where Hanson adds occasional electronic noises to the guitar-centric sound — think Brian Eno in early \u003ca href=\"http://www.roxymusic.co.uk/\" target=\"_blank\">Roxy Music\u003c/a>, not Rick Wakeman in Yes. And there are signs of ambition to balance the whimsy: “Fire On the Mountain” goes through several phases in the course of its five minutes, from floaty to funky-bouncy to freak-folky.\u003c/p>\n\u003cp>Ganglion Reef ends with “Generator Larping,” its longest and most sonically refined piece, a closing note pointing to a world of possibilities. Not that we’re predicting this will be the next Radiohead, let alone Pink Floyd. Of course, Radiohead has never really been known for a sense of humor. Nor has Pink Floyd. Maybe that will be the Wand magic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More: \u003ca href=\"http://www.dragcity.com/artists/wand\" target=\"_blank\">About Wand (DragCity.com)\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "New Organ Planned For Castro Theatre Will Be Among Largest in the World",
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"content": "\u003cp>\u003ciframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/165184212&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true\" width=\"100%\" height=\"450\" frameborder=\"no\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>Castro Theatre regulars know to come early.\u003c/p>\n\u003cp>They know to sink deep into the plush red seats and to to savor the intricate details around them: golden woodwork, the art deco chandelier, a pair of unexpected murals on the theater's side walls.\u003c/p>\n\u003cp>But mostly, they know to listen. Because 15 minutes before each movie showing, the organ music begins.\u003c/p>\n\u003cp>Rising from the orchestra pit on a lift, organist David Hegarty plays a dramatic tune on the theater's creamy yellow Wurlitzer. He started playing at the Castro 36 years ago -- before the current organ was even installed in the space.\u003c/p>\n\u003cfigure id=\"attachment_146107\" class=\"wp-caption alignright\" style=\"max-width: 320px\">\u003cimg class=\"wp-image-146107\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/08/2014-08-06-14.41.01-640x480.jpg\" alt=\"Hegarty practices the Castro's signature song, "San Francisco." (Olivia Allen-Price/KQED)\" width=\"320\" height=\"240\">\u003cfigcaption class=\"wp-caption-text\">Hegarty practices the Castro's signature song, \"San Francisco.\" (Olivia Allen-Price/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>And he'll be around after it's gone, too. The Wurlitzer that has entertained audiences for 30 years is up for sale.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Castro Theatre doesn't actually own the organ, and the man who does has decided to move from the Bay Area and sell the instrument.\u003c/p>\n\u003cp>\"It's been considered one of the finest organs in the country,\" says Hegarty. \"It's been a great pleasure for me to play it all these years.\"\u003c/p>\n\u003cp>Hegarty is the president of the Castro Organ Devotees Association (SFCODA), a nonprofit working to bring a new organ to the Castro. For a time, they considered purchasing the current Wurlitzer.\u003c/p>\n\u003cp>\"Unfortunately, this organ, having been played constantly for over 30 years, is wearing out. It needs a total rebuild, which is very expensive,\" he says. \"Recently we've received a donation of a very fine pipe organ that doesn't need all of this refurbishing.\"\u003c/p>\n\u003cp>Though some parts of the organ have been donated, SFCODA still needs about $700,000 to complete the organ and install it in the theater. They are working to raise money through private and corporate donations, grants and public funding. An \u003ca href=\"https://www.indiegogo.com/projects/the-castro-symphonic-theatre-organ\" target=\"_blank\">Indiegogo campaign\u003c/a> ends on Sept. 25.\u003c/p>\n\u003cp>The new symphonic organ will have seven keyboards, 800 stop tabs and 400 ranks -- for those of you not versed in organ lingo, that's really, really big. It's so big that if the organ were made only of pipes, it would nearly fill the 1,400-seat theater. But because it will incorporate digital technology, the new organ will fit into the same space as the current Wurlitzer.\u003c/p>\n\u003cp>After it's finished, Hegarty says, the Castro's new organ will be the third largest in the world -- behind only the \u003ca href=\"http://www.wanamakerorgan.com/\" target=\"_blank\">Macy's Wanamaker Organ\u003c/a> in Philadelphia and the \u003ca href=\"http://www.boardwalkhall.com/organs.asp\" target=\"_blank\">Boardwalk Hall Organ\u003c/a> in Atlantic City, New Jersey.\u003c/p>\n\u003cp>\"If you took the sound you hear in the Castro at the present and envision a symphony orchestra sitting up there with the organ, that's the sound you're going to hear from the new organ,\" says instrument designer Allen Harrah. He's been a pioneer in melding digital systems with all-pipe organs, and is designing the new organ for the Castro.\u003c/p>\n\u003cp>Built around a theater organ core, the new instrument will have the capability of sounding just like the current Wurlitzer, Harrah says. Additional classical pipework will give it a wider range, and an advanced digital system will make the virtual sounds of many other instruments accessible.\u003c/p>\n\u003cp>\"These virtual sounds are extremely highly developed recordings of the actual instruments that are stored in massive amounts of memory,\" says Harrah. \"It's very, very difficult to tell that they're not the real thing.\"\u003c/p>\n\u003cp>Listen to David Hegarty playing music from \"2001: Space Odyssey\" on an organ similar to the one planned for the Castro. An organ is the only instrument being played here, though it sounds as if a whole orchestra may be at work:\u003c/p>\n\u003cp>\u003ciframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/165183121&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If all goes well, SFCODA hopes to have the new organ in the theater by spring 2015. If the current Wurlitzer sells before the new organ is ready, Hegarty plans to bring an organ from his house to use temporarily. So fear not, Castro patrons, the music will not stop.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Castro Theatre doesn't actually own the organ, and the man who does has decided to move from the Bay Area and sell the instrument.\u003c/p>\n\u003cp>\"It's been considered one of the finest organs in the country,\" says Hegarty. \"It's been a great pleasure for me to play it all these years.\"\u003c/p>\n\u003cp>Hegarty is the president of the Castro Organ Devotees Association (SFCODA), a nonprofit working to bring a new organ to the Castro. For a time, they considered purchasing the current Wurlitzer.\u003c/p>\n\u003cp>\"Unfortunately, this organ, having been played constantly for over 30 years, is wearing out. It needs a total rebuild, which is very expensive,\" he says. \"Recently we've received a donation of a very fine pipe organ that doesn't need all of this refurbishing.\"\u003c/p>\n\u003cp>Though some parts of the organ have been donated, SFCODA still needs about $700,000 to complete the organ and install it in the theater. They are working to raise money through private and corporate donations, grants and public funding. An \u003ca href=\"https://www.indiegogo.com/projects/the-castro-symphonic-theatre-organ\" target=\"_blank\">Indiegogo campaign\u003c/a> ends on Sept. 25.\u003c/p>\n\u003cp>The new symphonic organ will have seven keyboards, 800 stop tabs and 400 ranks -- for those of you not versed in organ lingo, that's really, really big. It's so big that if the organ were made only of pipes, it would nearly fill the 1,400-seat theater. But because it will incorporate digital technology, the new organ will fit into the same space as the current Wurlitzer.\u003c/p>\n\u003cp>After it's finished, Hegarty says, the Castro's new organ will be the third largest in the world -- behind only the \u003ca href=\"http://www.wanamakerorgan.com/\" target=\"_blank\">Macy's Wanamaker Organ\u003c/a> in Philadelphia and the \u003ca href=\"http://www.boardwalkhall.com/organs.asp\" target=\"_blank\">Boardwalk Hall Organ\u003c/a> in Atlantic City, New Jersey.\u003c/p>\n\u003cp>\"If you took the sound you hear in the Castro at the present and envision a symphony orchestra sitting up there with the organ, that's the sound you're going to hear from the new organ,\" says instrument designer Allen Harrah. He's been a pioneer in melding digital systems with all-pipe organs, and is designing the new organ for the Castro.\u003c/p>\n\u003cp>Built around a theater organ core, the new instrument will have the capability of sounding just like the current Wurlitzer, Harrah says. Additional classical pipework will give it a wider range, and an advanced digital system will make the virtual sounds of many other instruments accessible.\u003c/p>\n\u003cp>\"These virtual sounds are extremely highly developed recordings of the actual instruments that are stored in massive amounts of memory,\" says Harrah. \"It's very, very difficult to tell that they're not the real thing.\"\u003c/p>\n\u003cp>Listen to David Hegarty playing music from \"2001: Space Odyssey\" on an organ similar to the one planned for the Castro. An organ is the only instrument being played here, though it sounds as if a whole orchestra may be at work:\u003c/p>\n\u003cp>\u003ciframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/165183121&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If all goes well, SFCODA hopes to have the new organ in the theater by spring 2015. If the current Wurlitzer sells before the new organ is ready, Hegarty plans to bring an organ from his house to use temporarily. So fear not, Castro patrons, the music will not stop.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/03/20140328etcrmag.mp3\u003c/p>\n\u003cp>We Californians can be a bit superstitious when it comes to our state's faults. I mean the geological ones, not the other quirky characteristics. No so much \u003ca href=\"http://www.meklitmusic.com/\" target=\"_blank\">Meklit\u003c/a>. On her new album, \"We Are Alive,\" the singer-songwriter and global activist confronts that fact of life head-on, even courts it. The set's opening song says it up front. We are, she sings, \"Waiting for Earthquakes.\"\u003c/p>\n\u003cp>Of course the song is metaphorical, about emotional temblors, not the other kind. But upheaval is a current that runs through the album, both in lyrics and music. In other hands, her folky jazz might be smooth, easygoing. And with her raw, beautiful and nimble voice, she could certainly pull that off. But she never seems content with smooth.\u003c/p>\n\u003cp>Just as you think you know what the music is, it becomes something else, even if just for an instant. A sudden dart or twist in a melody, as if a thought just popped into her head. A counter-rhythm pluck from bassist Sam Bevan. A spike of melancholic mystery from trumpeter Darren Johnston. A rumbling peal from drummer Lorca Hart. It's the sound of an artist not content to be any one thing, or even one thing at a time. The inherent restlessness is below the surface in some spots, but in others, as on \"In Sleep,\" right up top.\u003c/p>\n\u003cp>Meklit Hadero was born in Ethiopia, raised in various spots around the U.S., and has been a San Francisco presence for the past dozen years. She's already a TED senior fellow for her work with music and culture of the Nile region and its diaspora.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She's been compared to Joni Mitchell at her most adventurous, as well as the Talking Heads, Norah Jones and Lou Reed - though none of them, or even any combination, give an accurate impression. On her first album she was bold enough to tackle Nina Simone's signature \"Feelin' Good.\" She was one of the creators of \"Earthbound,\" billed as the \"first hop-hop space opera,\" and her all-cover-songs collaboration with soul singer Quinn DeVeaux featured material ranging from Arcade Fire to Neil Young to Stevie Wonder.\u003c/p>\n\u003cp>Producer Eli Crews - who has worked with \u003ca href=\"http://tune-yards.com/\" target=\"_blank\">TuneYards\u003c/a>, another global-minded shaker-upper - helps bring out all of Meklit's experience and perspective in these songs. It's not world music per se, but there is a world of music here, with a dimensional quality only hinted at on her 2010 debut. Even when the music is delicate, as with the toy-piano-based waltz \"Stuck on the Moon,\" there's a sturdiness to it, while the song \"Slow\" is simply, exuberantly robust.\u003c/p>\n\u003cp>She also puts her stamp on two cover songs, which in the process serve as good reference points for her own material. There's a sort of Afro-jazz version of the Police's shadowy \"Bring On the Night\" followed by a traditional Ethiopian song, \"Kemekem.\" The latter, subtitled \"I like your Afro,\" features fellow Ethiopian Samuel Yirga guesting on piano.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Where \"Waiting for Earthquakes\" sets the tone, the title song, \"We Are Alive,\" ties it all together at the end. Now, she'd never be so trite as to say that we need earthquakes, emotional or otherwise, to make us feel alive. She's just saying: Throw away those superstitions and enjoy the shake.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We Californians can be a bit superstitious when it comes to our state's faults. I mean the geological ones, not the other quirky characteristics. No so much \u003ca href=\"http://www.meklitmusic.com/\" target=\"_blank\">Meklit\u003c/a>. On her new album, \"We Are Alive,\" the singer-songwriter and global activist confronts that fact of life head-on, even courts it. The set's opening song says it up front. We are, she sings, \"Waiting for Earthquakes.\"\u003c/p>\n\u003cp>Of course the song is metaphorical, about emotional temblors, not the other kind. But upheaval is a current that runs through the album, both in lyrics and music. In other hands, her folky jazz might be smooth, easygoing. And with her raw, beautiful and nimble voice, she could certainly pull that off. But she never seems content with smooth.\u003c/p>\n\u003cp>Just as you think you know what the music is, it becomes something else, even if just for an instant. A sudden dart or twist in a melody, as if a thought just popped into her head. A counter-rhythm pluck from bassist Sam Bevan. A spike of melancholic mystery from trumpeter Darren Johnston. A rumbling peal from drummer Lorca Hart. It's the sound of an artist not content to be any one thing, or even one thing at a time. The inherent restlessness is below the surface in some spots, but in others, as on \"In Sleep,\" right up top.\u003c/p>\n\u003cp>Meklit Hadero was born in Ethiopia, raised in various spots around the U.S., and has been a San Francisco presence for the past dozen years. She's already a TED senior fellow for her work with music and culture of the Nile region and its diaspora.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She's been compared to Joni Mitchell at her most adventurous, as well as the Talking Heads, Norah Jones and Lou Reed - though none of them, or even any combination, give an accurate impression. On her first album she was bold enough to tackle Nina Simone's signature \"Feelin' Good.\" She was one of the creators of \"Earthbound,\" billed as the \"first hop-hop space opera,\" and her all-cover-songs collaboration with soul singer Quinn DeVeaux featured material ranging from Arcade Fire to Neil Young to Stevie Wonder.\u003c/p>\n\u003cp>Producer Eli Crews - who has worked with \u003ca href=\"http://tune-yards.com/\" target=\"_blank\">TuneYards\u003c/a>, another global-minded shaker-upper - helps bring out all of Meklit's experience and perspective in these songs. It's not world music per se, but there is a world of music here, with a dimensional quality only hinted at on her 2010 debut. Even when the music is delicate, as with the toy-piano-based waltz \"Stuck on the Moon,\" there's a sturdiness to it, while the song \"Slow\" is simply, exuberantly robust.\u003c/p>\n\u003cp>She also puts her stamp on two cover songs, which in the process serve as good reference points for her own material. There's a sort of Afro-jazz version of the Police's shadowy \"Bring On the Night\" followed by a traditional Ethiopian song, \"Kemekem.\" The latter, subtitled \"I like your Afro,\" features fellow Ethiopian Samuel Yirga guesting on piano.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Where \"Waiting for Earthquakes\" sets the tone, the title song, \"We Are Alive,\" ties it all together at the end. Now, she'd never be so trite as to say that we need earthquakes, emotional or otherwise, to make us feel alive. She's just saying: Throw away those superstitions and enjoy the shake.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/01/2014-01-31e-tcrmag.mp3\u003c/p>\n\u003cfigure id=\"attachment_10342393\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/clevenger.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/clevenger-400x225.jpg\" alt=\"Nathan Clevenger (L) and Sam Bevan (Michael Zelner/Flickr)\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10342393\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/10/clevenger-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/clevenger.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Nathan Clevenger (L) and Sam Bevan (Michael Zelner/Flickr)\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area’s improvised music scene is made up of dozens of projects and bands drawing on a shared pool of talent, so it’s not unusual for musicians to play together in multiple ensembles. The Nathan Clevenger Group includes many of the scene’s leading figures, but he’s created a sound that stands out from the crowd.\u003c/p>\n\u003cp>Led by the Oakland guitarist/composer of the same name, the Nathan Clevenger Group has been around since 2003, although the band didn’t release its debut album, “The Evening Earth,” until 2010. On its new album, “Observatory,” there’s the sense the ensemble has grown into Clevenger’s music, figuring out details that are all the more tricky for unfurling at an unhurried pace, like the playfully episodic “Dia de los Monos.”\u003c/p>\n\u003cp>Nine of the album’s 10 tracks feature a sextet, and the core of the group is built around Clevenger’s cool-toned guitar, the texture-minded drummer Jon Arkin, bassist Sam Bevan and alto saxophonist Kasey Knudsen, a player whose presence is always a reliable sign that something interesting is going on.\u003c/p>\n\u003cp>Drawing on orchestral jazz concepts pioneered by Duke Ellington, Sun Ra and Gil Evans, he revels in coaxing a kaleidoscopic array of voicings from the band, writing extended dreamscapes that unfold with their own quirky internal logic. On the atmospheric ballad “Monsoon,” the slowly building intensity leads up to a long keening solo by Knudsen, but the storm always stays far offshore.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Much like Harry Carney’s supple baritone saxophone anchored and defined the sound of the Duke Ellington Orchestra, Clevenger is clearly inspired by reedy lower registers. Almost every track features either Aaron Novik or Cory Wright on bass clarinet, and the contrast between their woody rumblings and the guitar, alto sax and flute provides a good deal of drama. On the jaunty “Slipshod Caffeine,” the band sounds like Sun Ra riding a particularly pleasant space wave.\u003c/p>\n\u003cp>Over the past decade, Clevenger has intersected with some of the Bay Area’s most creative musicians, including saxophonist Phillip Greenlief, bassist Lisa Mezzacappa, trumpeter Darren Johnston and clarinetist Aaron Novik (he performed and recorded as part of Novik’s extended work “The Samuel Suite,” which was released on the Evander label in 2008). Like them, he draws on a pool of players who can be found working together in various combinations, like Cory Wright’s excellent new album “Apples + Oranges” (Singlespeed Music), a quintet session that also features saxophonist/flutist Evan Francis and was also recorded by Eli Crews and mastered by Myles Boisen.\u003c/p>\n\u003cp>Part of what makes Clevenger’s music so much fun is that he’s found a sweet spot between imposing his ideas as an arranger and opening up his material to his cast of vivid improvisers. He employs a similarly deft touch as a player. Throughout the album, Clevenger doesn’t take more than a handful of solos, but he is often guiding the ensemble with luscious chords and carefully placed lines. In many ways, the band itself is his instrument.\u003c/p>\n\u003cp>On “Observatory” he makes brilliant use of the many colors at his disposal, like on the sumptuous closer “O Syracuse,” an opulently appointed melody that cries out for a witty lyric.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More: \u003ca href=\"http://www.nathanclevengermusic.com/\" target=\"_blank\">About Nathan Clevenger (Official Website)\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/01/2014-01-31e-tcrmag.mp3\u003c/p>\n\u003cfigure id=\"attachment_10342393\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/clevenger.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/clevenger-400x225.jpg\" alt=\"Nathan Clevenger (L) and Sam Bevan (Michael Zelner/Flickr)\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10342393\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/10/clevenger-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/clevenger.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Nathan Clevenger (L) and Sam Bevan (Michael Zelner/Flickr)\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area’s improvised music scene is made up of dozens of projects and bands drawing on a shared pool of talent, so it’s not unusual for musicians to play together in multiple ensembles. The Nathan Clevenger Group includes many of the scene’s leading figures, but he’s created a sound that stands out from the crowd.\u003c/p>\n\u003cp>Led by the Oakland guitarist/composer of the same name, the Nathan Clevenger Group has been around since 2003, although the band didn’t release its debut album, “The Evening Earth,” until 2010. On its new album, “Observatory,” there’s the sense the ensemble has grown into Clevenger’s music, figuring out details that are all the more tricky for unfurling at an unhurried pace, like the playfully episodic “Dia de los Monos.”\u003c/p>\n\u003cp>Nine of the album’s 10 tracks feature a sextet, and the core of the group is built around Clevenger’s cool-toned guitar, the texture-minded drummer Jon Arkin, bassist Sam Bevan and alto saxophonist Kasey Knudsen, a player whose presence is always a reliable sign that something interesting is going on.\u003c/p>\n\u003cp>Drawing on orchestral jazz concepts pioneered by Duke Ellington, Sun Ra and Gil Evans, he revels in coaxing a kaleidoscopic array of voicings from the band, writing extended dreamscapes that unfold with their own quirky internal logic. On the atmospheric ballad “Monsoon,” the slowly building intensity leads up to a long keening solo by Knudsen, but the storm always stays far offshore.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Much like Harry Carney’s supple baritone saxophone anchored and defined the sound of the Duke Ellington Orchestra, Clevenger is clearly inspired by reedy lower registers. Almost every track features either Aaron Novik or Cory Wright on bass clarinet, and the contrast between their woody rumblings and the guitar, alto sax and flute provides a good deal of drama. On the jaunty “Slipshod Caffeine,” the band sounds like Sun Ra riding a particularly pleasant space wave.\u003c/p>\n\u003cp>Over the past decade, Clevenger has intersected with some of the Bay Area’s most creative musicians, including saxophonist Phillip Greenlief, bassist Lisa Mezzacappa, trumpeter Darren Johnston and clarinetist Aaron Novik (he performed and recorded as part of Novik’s extended work “The Samuel Suite,” which was released on the Evander label in 2008). Like them, he draws on a pool of players who can be found working together in various combinations, like Cory Wright’s excellent new album “Apples + Oranges” (Singlespeed Music), a quintet session that also features saxophonist/flutist Evan Francis and was also recorded by Eli Crews and mastered by Myles Boisen.\u003c/p>\n\u003cp>Part of what makes Clevenger’s music so much fun is that he’s found a sweet spot between imposing his ideas as an arranger and opening up his material to his cast of vivid improvisers. He employs a similarly deft touch as a player. Throughout the album, Clevenger doesn’t take more than a handful of solos, but he is often guiding the ensemble with luscious chords and carefully placed lines. In many ways, the band itself is his instrument.\u003c/p>\n\u003cp>On “Observatory” he makes brilliant use of the many colors at his disposal, like on the sumptuous closer “O Syracuse,” an opulently appointed melody that cries out for a witty lyric.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More: \u003ca href=\"http://www.nathanclevengermusic.com/\" target=\"_blank\">About Nathan Clevenger (Official Website)\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/01/2014-01-24d-tcrmag.mp3\u003c/p>\n\u003cfigure id=\"attachment_10343261\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/WarpaintLive.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/WarpaintLive-400x225.jpg\" alt=\"(Wikimedia Commons)\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10343261\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/10/WarpaintLive-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/WarpaintLive.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(Wikimedia Commons)\u003c/figcaption>\u003c/figure>\n\u003cp>The dance-y-est, dubby-est song on \"Warpaint,\" the new album by the Los Angeles quartet of the same name, has an odd title: It’s the word, Disco, followed by two slashes, and then the word very — “Disco // very.” But that title is also a clue to the whole album, the whole band. Run the words together and it’s \"Discovery.\" It’s not a very subtle clue, or deeply hidden one. Hey, if you’d spent the last four years evolving and discovering new levels of richness and confidence, you’d want others to discover it with you.\u003c/p>\n\u003cp>On Warpaint’s 2010 debut album, \"The Fool,\" there was a certain rustic, even primitive quality to the music. Singer-guitarists Emily Kokal and Theresa Wayman, bassist Jenny Lee Lindberg and drummer Stella Mozgawa shared a winning naiveté, sort of a post-post-post-punk hippie vibe. But what justified the considerable buzz it generated was a rich, art-conscious sophistication just under the surface. With this new, awaited followup album, the balance is flipped.\u003c/p>\n\u003cp>The album was co-produced with the band by English veteran Flood, whose extensive credits include Nine Inch Nails, PJ Harvey and U2. On such songs as “Love Is To Die,” he puts a robust pop quality fully up front, showcasing a strong hook and the new maturity of Kokal’s singing, capturing at once the edge of despair and the blossom of hope.\u003c/p>\n\u003cp>But the shambling side is strong, too, reflections of the music originating in collective sessions held in a domed house in Joshua Tree. You can feel it in the expansive sweep of “Go In.” (Of course, Flood was a key participant in another certain album tied to Joshua Tree.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Throughout the album, Lindberg’s rubbery bass lines and Mozgawa’s quasi-ceremonial drumming suggest, but don’t pin down, the shape of the music. It’s reminiscent of New Order or some Public Image Ltd. experiments from the past, and in some ways L.A. duo No Age, England’s the XX and even Sri Lanka-born provocateur M.I.A.\u003c/p>\n\u003cp>Like all of them, Warpaint refuses to be locked in any genre box. It keeps you off guard and guessing, engagingly so — always in a state of discovery. And there’s a lot on Warpaint worth discovering.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More: \u003ca href=\"http://warpaintwarpaint.com/\" target=\"_blank\">About Warpaint (official website)\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/01/2014-01-24d-tcrmag.mp3\u003c/p>\n\u003cfigure id=\"attachment_10343261\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/WarpaintLive.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/WarpaintLive-400x225.jpg\" alt=\"(Wikimedia Commons)\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10343261\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/10/WarpaintLive-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/WarpaintLive.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(Wikimedia Commons)\u003c/figcaption>\u003c/figure>\n\u003cp>The dance-y-est, dubby-est song on \"Warpaint,\" the new album by the Los Angeles quartet of the same name, has an odd title: It’s the word, Disco, followed by two slashes, and then the word very — “Disco // very.” But that title is also a clue to the whole album, the whole band. Run the words together and it’s \"Discovery.\" It’s not a very subtle clue, or deeply hidden one. Hey, if you’d spent the last four years evolving and discovering new levels of richness and confidence, you’d want others to discover it with you.\u003c/p>\n\u003cp>On Warpaint’s 2010 debut album, \"The Fool,\" there was a certain rustic, even primitive quality to the music. Singer-guitarists Emily Kokal and Theresa Wayman, bassist Jenny Lee Lindberg and drummer Stella Mozgawa shared a winning naiveté, sort of a post-post-post-punk hippie vibe. But what justified the considerable buzz it generated was a rich, art-conscious sophistication just under the surface. With this new, awaited followup album, the balance is flipped.\u003c/p>\n\u003cp>The album was co-produced with the band by English veteran Flood, whose extensive credits include Nine Inch Nails, PJ Harvey and U2. On such songs as “Love Is To Die,” he puts a robust pop quality fully up front, showcasing a strong hook and the new maturity of Kokal’s singing, capturing at once the edge of despair and the blossom of hope.\u003c/p>\n\u003cp>But the shambling side is strong, too, reflections of the music originating in collective sessions held in a domed house in Joshua Tree. You can feel it in the expansive sweep of “Go In.” (Of course, Flood was a key participant in another certain album tied to Joshua Tree.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Throughout the album, Lindberg’s rubbery bass lines and Mozgawa’s quasi-ceremonial drumming suggest, but don’t pin down, the shape of the music. It’s reminiscent of New Order or some Public Image Ltd. experiments from the past, and in some ways L.A. duo No Age, England’s the XX and even Sri Lanka-born provocateur M.I.A.\u003c/p>\n\u003cp>Like all of them, Warpaint refuses to be locked in any genre box. It keeps you off guard and guessing, engagingly so — always in a state of discovery. And there’s a lot on Warpaint worth discovering.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More: \u003ca href=\"http://warpaintwarpaint.com/\" target=\"_blank\">About Warpaint (official website)\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The Chicana First Lady of Song",
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"content": "\u003cp> \u003c/p>\n\u003cp>Some call Fresno’s Carmencristina Moreno the “Chicana First Lady of Song.” The 74-year old performer has been strumming a guitar and singing since she was 11.\u003c/p>\n\u003cp>“I was born into the music,” she says. “When I was born, my parents were already singing radio stars in Los Angeles.”\u003c/p>\n\u003cfigure id=\"attachment_10341630\" class=\"wp-caption alignnone\" style=\"max-width: 543px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/12/5-El-Dueto-de-los-Moreno-with-one-guitar.jpg\">\u003cimg class=\"wp-image-10341630 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/12/5-El-Dueto-de-los-Moreno-with-one-guitar.jpg\" alt=\"El Dueto Los Moreno in the 1930s. (photo courtesy Carmencristina Moreno) \" width=\"543\" height=\"818\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2013/12/5-El-Dueto-de-los-Moreno-with-one-guitar.jpg 543w, https://ww2.kqed.org/app/uploads/sites/10/2013/12/5-El-Dueto-de-los-Moreno-with-one-guitar-400x602.jpg 400w\" sizes=\"(max-width: 543px) 100vw, 543px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">El Dueto Los Moreno in the 1930s. (photo courtesy Carmencristina Moreno)\u003c/figcaption>\u003c/figure>\n\u003cp>Moreno’s parents were pioneers of California’s Mexican music scene in the 1930s, playing guitar and singing together on early morning radio networks, the only time slots that allowed music in Spanish on L.A.’s airwaves. They performed as “El Dueto de los Moreno,” sometimes accompanied by mariachis. Her father, Luis Moreno, composed about 300 songs in the ranchera tradition.\u003c/p>\n\u003cp>“I inherited two kingdoms,” she says, strumming her guitar. “The kingdom of songs of my father, and all those beautiful soft songs in English,” says Moreno, who remembers listening to Ethel Merman and music from Broadway shows as a child.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moreno also remembers her mother, Carmen, leaving on tour, wearing elaborate costume jewelry and embroidered skirts. Her father, Luis, had a pencil-thin mustache that peeked out from under a wide mariachi hat. He had come to the U.S. as a young man in 1919, escaping the Mexican revolution.\u003c/p>\n\u003cp>“He was wounded in the revolution,” Moreno says. “My brother and I used to touch the bullet hole scars on his rib cage on his right side, and on his thigh where he was shot and left for dead.”\u003cbr>\nBut Luis Moreno, who was largely illiterate, didn’t make much money on his songs, even those that were recorded by stars like Pedro Infante and went on to become super hits.\u003c/p>\n\u003cp>“They would present a work-for-hire paper for him to sign, in English, relinquishing all the rights,” says Moreno. “They would dangle 10, 15 dollars in front of him.”\u003c/p>\n\u003cp>Moreno’s parents eventually moved to Fresno, where they became farmworkers to supplement their musical income.\u003c/p>\n\u003cp>Moreno went on to act in Hollywood, and recorded with major labels as “Carmen.” But she couldn’t accept the stereotypical roles available to Latina actresses in the 1970s. And she refused to anglicize her name or ignore her Mexican musical heritage.\u003c/p>\n\u003cp>“I figured, if I’m going to do my own thing, I’m going to do my own thang, honey, and I’m going to do it and sing about what I want to,” she says. She formed her own independent label, and financed herself. She struggled as a single mom, raising three kids as a musician.\u003c/p>\n\u003cp>“I was not above getting a gig in a Mexican restaurant, with a sound system, with a tip jar, and singing all the music that my parents had taught me. I worked in every taco joint in the Coachella Valley,” Moreno laughs.\u003c/p>\n\u003cp>“She wasn’t willing to sacrifice her musical principles. She marched to her own guitar, or guitarra,” laughs Dr. Manuel Peña, a retired professor of ethnomusicology from Fresno State and UT Austin who specializes in Chicano music. He compares Carmencristina Moreno to stars like \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=127033025\" target=\"_blank\">Lydia Mendoza\u003c/a> or Linda Ronstadt.\u003c/p>\n\u003cp>“They attained more notoriety and fame, but Carmencristina is every bit their equal,” says Peña. “She’s right up there with the foremost of our Mexican-American artists.”\u003c/p>\n\u003cp>What makes Moreno different, he says, is the way she sets lyrics in English to a musical framework rooted in Mexican ranchera music.\u003c/p>\n\u003cp>“That’s hard-core, working-class Mexicano music. But there are other layers of musical development that are superimposed over that ranchera core. That fusion or synthesis, really. She is not the only one to do this, but she is unique in doing it with a single voice and a guitar.”\u003c/p>\n\u003cp>Carmencristina Moreno was awarded the nation’s highest folk art honor when she was named a \u003ca href=\"http://arts.gov/honors/heritage\" target=\"_blank\">National Endowment for the Arts National Heritage Fellow\u003c/a> in 2003. The award recognized her musical contributions to the farmworker movement, and her project\u003ca href=\"http://arts.gov/honors/heritage/fellows/carmencristina-moreno\" target=\"_blank\"> teaching Mexican and U.S. history through music\u003c/a> in Central Valley schools.\u003c/p>\n\u003cp>Now, at close to 75, Carmencristina Moreno is not slowing down, though she’s survived breast cancer and is nursing a shoulder injury after 60 years of holding an acoustic guitar. She’s finishing a book about her father’s experience in the Mexican Revolution, which includes 2 CDs. She lives in her parents’ ramshackle house surrounded by raisin vineyards and almond trees, still composing and playing guitar every day, and taking whatever gigs she can get.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I can only say Carmencristina richly deserves to be known,” says Peña. “She’s like the treasure of the San Joaquin that hasn’t been discovered yet.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp> \u003c/p>\n\u003cp>Some call Fresno’s Carmencristina Moreno the “Chicana First Lady of Song.” The 74-year old performer has been strumming a guitar and singing since she was 11.\u003c/p>\n\u003cp>“I was born into the music,” she says. “When I was born, my parents were already singing radio stars in Los Angeles.”\u003c/p>\n\u003cfigure id=\"attachment_10341630\" class=\"wp-caption alignnone\" style=\"max-width: 543px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/12/5-El-Dueto-de-los-Moreno-with-one-guitar.jpg\">\u003cimg class=\"wp-image-10341630 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/12/5-El-Dueto-de-los-Moreno-with-one-guitar.jpg\" alt=\"El Dueto Los Moreno in the 1930s. (photo courtesy Carmencristina Moreno) \" width=\"543\" height=\"818\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2013/12/5-El-Dueto-de-los-Moreno-with-one-guitar.jpg 543w, https://ww2.kqed.org/app/uploads/sites/10/2013/12/5-El-Dueto-de-los-Moreno-with-one-guitar-400x602.jpg 400w\" sizes=\"(max-width: 543px) 100vw, 543px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">El Dueto Los Moreno in the 1930s. (photo courtesy Carmencristina Moreno)\u003c/figcaption>\u003c/figure>\n\u003cp>Moreno’s parents were pioneers of California’s Mexican music scene in the 1930s, playing guitar and singing together on early morning radio networks, the only time slots that allowed music in Spanish on L.A.’s airwaves. They performed as “El Dueto de los Moreno,” sometimes accompanied by mariachis. Her father, Luis Moreno, composed about 300 songs in the ranchera tradition.\u003c/p>\n\u003cp>“I inherited two kingdoms,” she says, strumming her guitar. “The kingdom of songs of my father, and all those beautiful soft songs in English,” says Moreno, who remembers listening to Ethel Merman and music from Broadway shows as a child.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moreno also remembers her mother, Carmen, leaving on tour, wearing elaborate costume jewelry and embroidered skirts. Her father, Luis, had a pencil-thin mustache that peeked out from under a wide mariachi hat. He had come to the U.S. as a young man in 1919, escaping the Mexican revolution.\u003c/p>\n\u003cp>“He was wounded in the revolution,” Moreno says. “My brother and I used to touch the bullet hole scars on his rib cage on his right side, and on his thigh where he was shot and left for dead.”\u003cbr>\nBut Luis Moreno, who was largely illiterate, didn’t make much money on his songs, even those that were recorded by stars like Pedro Infante and went on to become super hits.\u003c/p>\n\u003cp>“They would present a work-for-hire paper for him to sign, in English, relinquishing all the rights,” says Moreno. “They would dangle 10, 15 dollars in front of him.”\u003c/p>\n\u003cp>Moreno’s parents eventually moved to Fresno, where they became farmworkers to supplement their musical income.\u003c/p>\n\u003cp>Moreno went on to act in Hollywood, and recorded with major labels as “Carmen.” But she couldn’t accept the stereotypical roles available to Latina actresses in the 1970s. And she refused to anglicize her name or ignore her Mexican musical heritage.\u003c/p>\n\u003cp>“I figured, if I’m going to do my own thing, I’m going to do my own thang, honey, and I’m going to do it and sing about what I want to,” she says. She formed her own independent label, and financed herself. She struggled as a single mom, raising three kids as a musician.\u003c/p>\n\u003cp>“I was not above getting a gig in a Mexican restaurant, with a sound system, with a tip jar, and singing all the music that my parents had taught me. I worked in every taco joint in the Coachella Valley,” Moreno laughs.\u003c/p>\n\u003cp>“She wasn’t willing to sacrifice her musical principles. She marched to her own guitar, or guitarra,” laughs Dr. Manuel Peña, a retired professor of ethnomusicology from Fresno State and UT Austin who specializes in Chicano music. He compares Carmencristina Moreno to stars like \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=127033025\" target=\"_blank\">Lydia Mendoza\u003c/a> or Linda Ronstadt.\u003c/p>\n\u003cp>“They attained more notoriety and fame, but Carmencristina is every bit their equal,” says Peña. “She’s right up there with the foremost of our Mexican-American artists.”\u003c/p>\n\u003cp>What makes Moreno different, he says, is the way she sets lyrics in English to a musical framework rooted in Mexican ranchera music.\u003c/p>\n\u003cp>“That’s hard-core, working-class Mexicano music. But there are other layers of musical development that are superimposed over that ranchera core. That fusion or synthesis, really. She is not the only one to do this, but she is unique in doing it with a single voice and a guitar.”\u003c/p>\n\u003cp>Carmencristina Moreno was awarded the nation’s highest folk art honor when she was named a \u003ca href=\"http://arts.gov/honors/heritage\" target=\"_blank\">National Endowment for the Arts National Heritage Fellow\u003c/a> in 2003. The award recognized her musical contributions to the farmworker movement, and her project\u003ca href=\"http://arts.gov/honors/heritage/fellows/carmencristina-moreno\" target=\"_blank\"> teaching Mexican and U.S. history through music\u003c/a> in Central Valley schools.\u003c/p>\n\u003cp>Now, at close to 75, Carmencristina Moreno is not slowing down, though she’s survived breast cancer and is nursing a shoulder injury after 60 years of holding an acoustic guitar. She’s finishing a book about her father’s experience in the Mexican Revolution, which includes 2 CDs. She lives in her parents’ ramshackle house surrounded by raisin vineyards and almond trees, still composing and playing guitar every day, and taking whatever gigs she can get.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I can only say Carmencristina richly deserves to be known,” says Peña. “She’s like the treasure of the San Joaquin that hasn’t been discovered yet.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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